Kaththi

My review: Kaththi

The hit combo of A.R.Murugadoss and Vijay is back with "Kaththi"after their blockbuster outing last time, "Thuppakki". It is a big task to reprise the success that they had couple of Diwalis back but the duo have just managed it, if not bettered it. On the surface what might look like just another commercial mass hero movie is indeed more than that. Movie takes a topical subject that is very relevant what with successive governments competing with each other in wooing the multinational corporation to their states by converting farm lands into special economic zones. The plight of agriculture and farmers have been relegated to back pages of the dailies and don't even feature in the prime time news anymore. In this background A.R.Murugadoss' attempt to bring these burning yet overlooked issues into the realms of mainstream commercial cinema is laudable. 

Movie begins dull, with uninspiring romantic portions and non-existent comical elements. But the heartening part is that Murugadoss does with all this commercial cinema routine in the first half and hour or so and shifts his focus diligently onto the subject in hand after which barring a few transgressions no looking back. The flashback portions are very well executed with some terrific acting from Vijay. The police station scene where he roars in agony advising the villagers to lot give away farming even if he dies is one sparkling example of the histrionic skills of the charismatic star. 

The action sequence involving the coins is yet another example of the directorial acumen of Murugadoss, like the encounter scene in "Thuppakki". Brilliantly executed by the team of director, action choreographer, cinematographer and actors, that. The press meet scene towards the climax is yet another well executed scene. The dialogues which are hard-hitting and razor sharp written by Murugadoss is elevated to a higher level by the power-packed performer in Vijay. In between these memorable scenes there are quiet a few lackadaisical sequences as well. But they get submerged beneath these terrific scenes which evoke overwhelmingly emotional response from the audience. 

Murugadoss has once again reaffirmed that he is one of the best commercial movie makers in the industry who always tries to touch upon socially relevant topics in his movies. Though his inability to weave good romantic portions in his movies barring "Gajini" is quiet stark, when it comes to the commercial masala elements he is second to no one. And he is a terrific dialogue writer too which he reinstates in "Kaththi". 

Vijay is in his elements in the role of Kathiresan, fun filled commercial hero who does all that is expected by his fans. But as Jeevanantham, he is a pleasant surprise. The underplayed emotions, brooding eyes, understated body language and dialogue delivery, he is a blast. Since "Kaththi" is a one-man show that focuses solely on Vijay, others have very little to do. Samantha is more like a set-property except in the song sequences. One wonder whether Neil Nitish Mukesh is needed for that role, any one could have done it. What made him sign for that role is a mystery. Satish has very few lines to mouth and none of them are funny. The support cast largely made of elderly actors acquaints themselves well.   

Anirudh's songs are already chart-toppers but their picturisation leaves a lot to be desired. "Selfie Pulla" in Vijay's voice is the pick but "Yaar petra magano" is astutely used by the director, stays in your mind for long. Anirudh's background score is a mixed bag. Some scenes are heart-thumping, especially when he has used variations of his theme music but at many others it is quiet bland. 

George C.Williams has done a terrific job as the movie's cinematographer. Each and every frame is crstal clear and reeks of high production values. The use of different tone in the flashback scenes which enhances the mostly red colored shirt worn by the protagonist in those scenes help in conveying the underlying communist strains of the subject. That it is just his second movie is an astounding feat.

On the whole, "Kaththi" may not be as focused or as incisive as the director's past masterclass "Ramana", but when you have a superstar with the kind of mass following that cut across class, age, region (and now even states), even this is just about enough to create wonders at box-office.

Bottomline: Mostly sharp with few blunt edges.

3.5/5 

Madras

My review: Madras

Pa.Ranjith's "Madras" after his impressive debut with "Attakathi" reaffirms his potential. There has been numerous movies made with Chennai as the backdrop but rarely one can seen a story on those belonging to the oppressed caste shown with such honesty and conviction as Ranjith has managed with "Madras". The dalit geo-political demographics that is so inherent within the landscapes of the northern parts of the metro has never been so aesthetically portrayed onscreen as far I could remember. What on a superficial viewing could be dismissed as a regular political action movie that happens in Chennai has a terrific underpinning of the lifestyles, culture, mores and psyche of the dalits in general, youth in particular. 

Though Ranjith could have made the movie crisper in the first half and could have had a more plausible and less convenient ending, till "Madras" keeps you glued to the screen all-through. Dialogues are so delightfully earthy which was evident in "Attakathi" as well. Casting is perfect with each and every character after being etched out so neatly are performed excellently too. Everyone of those characters have distinct personality traits that are so very well written. For instance, the character of Johnny is so delightfully fresh, exceedingly well performed by Hari. Anbu is another character that is so real who stands up for the political emancipation of his community who is immensely courageous yet circumspect when he gets to know his life is at stake. Maari is a typical seasoned politician of a smaller party who uses his community people for his own political gain.

Karthi's Kaali is another dimension of the community's educated and well employed youth who after enjoying the fruits of the affirmative action bestowed upon them by the constitution try to dissociate themselves from the community in their endeavor of social mobility. Even their parents at multiple instances hint at him of the same. Movie's female lead Kalaiarasi, well enacted by Catherine Tresa, is a strong headed typical girl from the community who are more independent, more assertive and more courageous than their counterparts in the opposite end of the spectrum. 

Santosh Narayanan's musical score and background score are terrific pillars for the stability of the movie's narrative superstructure.  "Naan nee" is one of the best songs of the year so far, well composed and well rendered. "Aagayam theepidicha" and "Kakitha kappal" are two interestingly sounding numbers. "Madras" will be the anthem of Madras for years to come. Background score is of international standards. Such quality background score back to back after his excellent work in "Jigarthanda" bodes well for the youngster who is fast climbing up the ladder. 

G.Murali's cinematography is excellent in capturing the hitherto unexplored parts of Chennai with gay-abandon. Pa. Ranjith comes across as a writer-director who not merely a story-teller (at which he is excellent) but the one who also gives equal importance to the milieu, culture, mores, customs and lifestyles of the demographic of the settings in which his story happens. That is the most important aspect because its is only socio-cultural setting and its representation that is going to distinguish movies from different parts of the world even if the stories are the same. And if Tamil movies ought to have a distinct identity for themselves these are the ones which are going to aid in that endeavor, not your routine run-of-the-mill stylishly shot commercial potboilers. 

Bottomline: Earthy, real and honest.

4/5

Money Ratham

My review: Money Ratnam

"Money Ratnam" is a typical mass masala entertainer that gets released during a festive season. Written by Anil Narayanan and Ajith C Lokesh, movie is directed by Santhosh Nair. Fahad Fazil is in his finest form delivers yet another entertaining performance in this road movie that keeps the audience in good humor for about two hours. Though the movie gets more and more over the top and logic-less towards the end, audience are treated to a good measure of fun uptil then that one can overlook these frailties that crop up.  

Movie moves at a good pace with the humor having a constant underpinning throughout the narration. There are quiet a few sequences that keeps you laughing out loud and few others which are down right silly. But the pleasantness that the movie exudes make it for a happy viewing. It is not a path-breaking effort by any  means but not a head-breaking one either. 

As mentioned earlier Fahad Fazil is into his elements. With every outing of his he is just growing in his stature as a versatile actor. This movie is a revelation for him to showcase his mastery over comedy which is so effortlessly done. Nivedha Thomas has nothing much to do but with whatever opportunity she has got she acquaints herself well. Aarthi has a nice cameo.

Movie is technically brilliant. Neil D'Cunha's shots are glossy. On the whole, "Money Ratnam" is a one time watch, two hours of sublime entertainment, worth the money. 

Bottomline: Fahad is having fun, we too. 

3/5

Yaan

My review: Yaan

"Yaan" has one of the finest visuals of action sequence this year. It has high production values and technically it is on par with any international movie. The conception and execution of the slow-mo action sequence right at the start as well as the chase sequence in the streets of Morocco are all very well done. Manush Nandan is the cinematographer who has shot the movie stylishly. It is expected when the movie is helmed by one of the biggest cinematographer in the country, Ravi K Chandran. 

Movie's album is yet another reason why many people would have harbored the thought of going to the cinema hall running this movie. Harris Jayaraj has come up with quiet a few foot-tapping numbers which though gives you a "heard-before" feel are hummable nonetheless. "Aathangara Orathil" and "Latcham Calorie" are two of the most in-demand songs in the FM stations over the past few months. 

These can be the only reason why one can even think of going anywhere near something remotely related to "Yaan", the movie. Even then if you enter the theater, there is no guarantee that you could come out with your health and peace of mind intact. The story is contrived, screenplay banal and direction non-existent. Even a light-man with an average knowledge about cinema and its making could have made a movie more engaging with more conviction than this "Yawn". It is shocking that such a terrible effort could come from one of the most acclaimed cinematographer of the country. 

Jiiva is in a terrible form and this movie further accentuates it. Thulasi Nair is okay with her histrionics but fills up the entire frame whenever she is on screen and whoever she is with. Even the most experienced actors  like Nasser, Thambi Ramaiah and Jayaprakash just go through their motions.

If you thought "Anjaan" was the worst film of the year, then think again. "Yaan" beats it by quiet a long distance and it could take a lot of hard-work to beat it. Movie is so terribly staged that what can you say about a movie in which there is a shot when they show a board written "Border" on a border fence between two countries, childish, juvenile or infantile..?!

Bottomline: Biggest "YAWN" of the year.

1/5

Jeeva

My review: Jeeva

Suseendran's "Jeeva" deals with the caste politics in Tamil Nadu cricket, a pertinent and a topical theme that often gets overlooked by both the media as well as the general public. The fact that 14 out of 16 players selected for India from Tamil Nadu are from one particular caste is not only shocking but a case of castiest terrorism. One must at the outset congratulate Susee for his courage and honesty with which he has approached this movie. But the problem with the movie is that it is not that gripping. 

First half meanders its way boringly with a very ordinary romantic portions interspersed with how the protagonist gets himself introduced to the divisional cricket at the state level. Nothing much interesting or engrossing in this half, as a result though it runs for only an hour it feels longer. Somehow the second half redeems the situation to an extent with razor sharp dialogues adding up to the levity. And it a relief that unlike most of the sports films made in India the protagonist need not indulge in heroic contrived battle against the system or a mighty opponent to show his might in a crowd-pleasing manner. Rather the writer-director has opted for a more "real" conclusion for the story. He has also done his homework right for there have been a lot of success stories like the one dealt with in this movie and many of those with the IPL team Rajasthan Royals, the team even the movie's protagonist plays for. 

Vishu is good, the fact that he is a cricketer himself has lend some much needed authenticity to his role. SriDivya is charmingly good while Lakshman is a revelation in his role of fiery Ranjith. Movie has a very good support cast, though by and large small time actors, their performances are terrific. Soori is in a fine form in this movie. D.Imman's music is not up to his own high standards he has set for himself in the recent times. Madhie's cinematography is terrific, especially the on field cricket sequences are excellently  picturized.  

Suseendran's intent is laudable, first for taking up an offbeat subject and second dealing it with conviction and honesty. But somehow he fails to churn out an engaging screenplay and allow the movie to meander itself to the end except for some fireworks here and there. As a result though the movie is just above two hours, one might get a feel of watching a movie that is too long for comfort.

Bottomline: A twenty20 on a slow pitch. 

3/5

Aranmanai

My review: Aranmanai

Only way to sit through Sunder.C's "Aranmanai" is to make peace with yourself that you are actually watching the 1970's-80's horror movies that used to get telecast in Raj digital plus on a lazy weekday afternoons when you are just back from your school. Just forget about the effort that you have put in or the money you have spent to watch this movie on big screen which it clearly doesn't deserve. 

But even if you compare it with the 70's-80's standards, movies of those times however tacky they look, they usually have actors who perform their best and succeed in making the viewers forget the insipidities on the prowl. The makers know when to unleash the horror, when to go it slow and when to break all hell loose. But "Aranmanai" is a case of poor scripting, lazy direction and below-par acting. There is not even a single scene where the viewers gets surprised or terrorized, the most bare essential of any horror movie. When horror element itself doesn't work, then the whole movie which is built on its basis falls apart. 

The movie is predictable to the core, right from the first scene till the last frame where they sow seed for a sequel. A ghost who is lovelorn, lover who is happily married, the possessed wife, savior of the family who tries all his might to overcome the evil designs of the ghost, the group of villains who are the reason why a timid village belle turn into a ghost and their gory deaths at the hands of it, a religious seer and a devotional song, whatever horror movie cliches you can think of are all present in this movie. As a result, the movie fails to makes any impact on its viewers. 

Only aspect that keeps the viewers seated in the auditorium is the comical aspects in the movie. Santhanam does succeeds to an extent in keeping the viewers in good humor with his typical sarcastic timing comedy. The flashback scenes too add up to the comedy with a clean shaven Vinay and trying to act Hansika. Andrea tries her maximum in the horror sequences, but her paucity of talent is evident in most of the other sequences. 

Bharadwaj seems to have got caught in the time warp too for all the songs are of the b-grade 70's-80's standards. Karthik Raja's background score does nothing in accentuating the horror, rather it is an ear-sore.  Technically movie is tacky and doesn't belong to the 2014's. 

On the whole, "Aranmanai" is a very poorly and lazily made horror movie sans any horror. Santhanam's usual comedy and many unintended comedies may keep you in your seats, but it is too trivial a movie to merit a viewing in a cinema theater.        

Bottomline:  a dilapidated palace. 

1.5/5  

Burma

My review: Burma

Tamil cinema is now abuzz with the neo-noir heist thrillers, following the cult internet following of "Aranya Kandam", touted as the first one of this genre in Tamil. Now Dharanidharan makes his debut with "Burma", a movie that deals with car robbery or rather "car seizing" as they call it, in the neo-noir style. Movie is stylish, well written, well performed and well made. Running just 98 minutes, the movie is taut too. The problem is there is nothing inventive or challenging to show in the script and it fails to create any tension or thrill in the audience. The movie fails in creating the "mood" that might have made this one a hell of a ride. In the end the makers have just settled for a ride. 

Though the movie's running time is economical, there are four songs which not only affects the fluidity of the narration but also plays the most important part in the movie's failure in creating the mood. But having said that, there is enough in the movie to go gaga about it. The unique characterization of the people who inhabitate "Burma" yet who feel and look real is testament to the terrific writing and presentation by Dharanidharan. Though there are not many heist scenes, the one in the highway when Burma and his accomplish con the gang with their BMW is one of the many well written scenes in the movie. But the main aspect of these type of movies is the surprise element in the twists which is not that evident here.

Movie has a wonderful cast comprising a mix of power-packed veterans and upcoming young talents. Sampath Kumar is just terrific as Guna who ends up at the receiving end each time in the hands of Burma, but still he maintains the majestic visage throughout the movie. Atul Kulkarni is adequate in a role that he has done umpteen times so far in his career. Michael is promising in the titular role of Burma. He needs to work on his dialgoue delivery. Reshmi Menon exudes confidence in her role while Karthik Sabesh is a riot in his role of Boomer. He has couple of terrific scenes to showcase his talents. Each and every character has a well rounded character graph and have uniqueness in their conception. 

"En Moochum Venam" is a delectable number by Sudharshan M Kumar who has composed the music for this movie. By and large his work is promising. Movie has enchanting visuals which are high on colours shot in a sleek glossy manner by Yuva. For a movie shot with a shoe-string budget, the production values are quiet high. 

Dharanidharan shows promise with the off-beatness of his script and mastery over his presentation, but needs to work on his scripting. It is by no means a routine lazy effort but can't be categorized as a trend-stter either. On the whole, "Burma" joins the list of all those well made movies with unique flavours made by the new generation of Tamil movie makers spearheaded by those from the short film circuit, but falls way short of being the best.  

Bottomline: Fast but not furious enough.

3/5